Sentences with phrase «pictorial space using»

Namely, the works were usually guided by the construction of pictorial space using expressive brush marks and lush colors, almost always painted on the backs of old picture frames.

Not exact matches

There are miles of art journalism where space is used to lend gravitas to minor, even silly, pictorial effects.

In Drawing for Sculpture the Size of a House (2001), on view at the Whitney, he intensified this photographic compression by blacking out a house from a snapshot using felt - tip pen, radically collapsing the pictorial space and blocking most of the scene from view.

His kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, «all the events that went into the making of the painting.»

Challenging and re-inventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

The artist's flawlessly rendered surfaces; use of stark lighting and awkward compression of pictorial space heightens the detachment of his subjects from lived experience and, as some writers have acknowledged, offers a reading of his work as a form of abstraction.

However, the tufted image, trompe l'oeil illusion, and translucent ground already show an interest in what modernists used to call pictorial space.

Through the use of materials such as nylon flocking, which is a material commonly found in wallpaper, sand, resin and acrylic paint, the highly physical surfaces create a sense of deep pictorial space.

Mr. Burban encourages individuality of expression through an exact analysis of the elements used to draw or paint the figure in compositional structure and pictorial space.

While stylistic references include turn - of - the - century Nordic figurative painting, folk art, and local or contemporary vernacular, her evocative use of pictorial space and her juxtapositions of thick paint and textured washes is uniquely her own.

Known for her innovative methods that extend pictorial devices used to expand perspective into three - dimensional space, Al - Hadid opens new terrain for contemporary sculpture while simultaneously recovering influential visual histories.

While hinting at pictorial space, she looks for ways to erode the hierarchy of supports, surface, and picture plane by using all components to create an image.

These paintings might also encourage us to speculate how Stella's attraction to the use of shallow pictorial space and bright fluorescent pigments helped him to approach his goal, the absolute beauty of the Netherlandish masterpiece.»

The exhibition Diana Al - Hadid highlights the artist's innovative extension into three - dimensional space of pictorial devices conventionally used to convey perspective in two dimensions.

Wilmerding explores unconventional use of signatures in paintings, focusing on American artists who have placed their signature within the pictorial space of the canvas.

Known for her innovative methods that extend pictorial devices used to expand perspective into three - dimensional space, Al - Hadid opens up new terrain for contemporary sculpture while simultaneously recovering influential visual histories.

While never entirely abandoning recognizable subject matter, he composes with an abstract sensibility, emphasizing image with a dramatic use of color and a whimsical use of pictorial space.

While stylistic references include turn of - the - century Nordic figurative painting, folk art, and local or contemporary vernacular, her evocative use of pictorial space and her juxtapositions of thick paint and textured washes is uniquely her own.

As early as the 1980s, after his wacky «Exotic Bird» series, 1976 — 80, Stella started using digital rendering technology to achieve polarization in pictorial space.

Andersson's use of windows, reflections, and depictions of paintings within the pictorial space is enhanced by the juxtaposition of thick paint and textured washes, creating a setting for vaguely supernatural occurrences.

The heterogeneity evident in every composition invites the viewer to resist the pictorial resolutions that one seeks in finished artworks, and instead revel in the liminal space that Sillman creates using her own visual language.

The exhibition Diana Al - Hadid highlights the artist's use of pictorial devices conventionally used to convey perspective in two dimensions, innovatively extended into three - dimensional space.

These observations became translated through the construction of three - dimensional spatial paintings as pictorial compositions that reconfigure the space and its architecture, using specific physical things.

Abigail Groff Hernandez uses the restrained tradition of still - life painting to subtlety break the illusion of pictorial space through contrasting formal compositions.

In using these visual structures, Acha creates pictorial spaces that are at once shallow and infinite.

Using unconventional materials such as Formica and Celotex (a fibrous paper - composite often used for ceiling tiles), he has made paintings that incorporate three - dimensional space and sculptures that embrace pictorial illusion.

Taking his cues from artists as diverse as Pablo Picasso, Henri Michaux, and Christopher Wool, Feaster seeks to advance the language of abstract painting through the use of an ever - expanding lexicon of material effects, marks, and erasures, entreating the viewer to participate in a disjointed narrative that warps the experience of pictorial space, light and action.

(Whitfield, S., Hayward Gallery, 2000) Fontana used his art as a vehicle for moving through matter and extensions of pictorial space, incorporated in his theory of «Spazialismo».

Outstanding in the first room is his absolutely stunning picture postcard painting «Santa Margherita Ligure», 1964, and a painting of the famous cubist painter «Portrait of Juan Gris» 1963, one of the artist's early works, intriguing for its predominate figure, as he produced few figurative paintings; advancing to the fifth room where light and shadows are being used in Caulfield classic twee interior scenes to understand the depth of pictorial space.

The paintings in this series are produced using the classical oil painting methods and materials of the Old Masters — successive layers of warm and cool black pigment glazes varnished to a highly reflective surface resulting in a profoundly deep pictorial space.

Because of his working method, with the paper flat on a table, he could never really see how the picture turned out until it was framed, which makes his vertiginous, highly expressive use of pictorial space all the more impressive.

«Shape / Anti-Shape» showcases Hsiao's recent exploration of the use of irregularly shaped supports as a means of organizing pictorial space.

Winters» kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, «all the events that went into the making of the painting.»

There is a strong relationship to the structure of drawing and use of flattened pictorial space.

Mitchell's jagged compositions of this period project centrifugal forces, barely contained by the painting plane, whereas Gedney's use of pulsating thick color with painterly drawings of pure black — sometimes forcefully, sometimes suggestively, and sometimes architecturally, like an expressionist descendant of Mondrian — fully contains the explosive energy of the work within the pictorial space.

How do we use the color green to create tension in pictorial space even when we are making a literal reference to it in nature?

At times I wish I could make work that used the logic of alternating darks to lights in a recession of pictorial space but it doesn't suit me.

Challenging and reinventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

Her evocative use of pictorial space and her juxtapositions of thick paint and textured washes have a unique and timeless quality, which is further enhanced by a conspicuous absence of contemporary signifiers.